The author of the tango "El Porteñito" was who opened that road, then began touring, including: Alfredo Gobbi, Carlos Mauricio Pacheco, Andres Cepeda, Arturo Mathon, Juan Andrés Caruso and Richard Podesta. Each of these authors and others who come later provide to tango lyrics, based on feelings, poverty, the neighborhood, the woman he loved, etc., Are part of this spirit that claims the popular song.
All wonderful contributions, but is pending the arrival of the first great poet of tango, one that would revolutionize its subject, with the scope of poetry marvelous, unforgettable Pascual Contursi.
Many of the musicians mentioned here already have some musical knowledge and others, conservatory studies. It is also the case of Angel Villoldo, without extensive training he shinned in everything he addressed: first was payador, then set to tango, wrote many sketches of success at the end of the century, stood out as a poet to put lyrics to several Songs as composer, he left a large and high quality music.
1900 Gleaming the tango scene come in names like the bandoneon player Juan Maglio, Vicente Greco, Augusto Berto, Genaro Esposito and years later Eduardo Arolas; violinists Enrique hierarchy Saborido, Ernesto Ponzio and later Francisco Canaro, and the pianists Roberto Firpo and Samuel Castriota. With this generation of tango musicians, Tango begin to have excellent teachers important-musical-training to think about training musicians to improve the musical approach. And it worked like a charm as the figures emerge disciples named the likes of: Osvaldo Fresedo Láurenz Pedro, Pedro Maffia and Ciriaco Ortiz, among others.
In thirty years of evolution, the tango was varying his sound proposal, firstly, improving fitness and quality of its instrumentalists, and on the other looking for instrumental combinations offered the best results for the musical message that was intended. In regard to the first point, it began with musicians from very poor training, intuitive and they played "by ear", to reach the end of the nineteenth century with highly qualified professionals, many of them coming out of conservatories, or disciples of important teachers.
With respect to the evolution of the sound of the sets, the first formations were integrated with: a violin, a flute and a guitar. Later, the bandoneon is coupled to the training referred; subsequently removed and integrated flute trios: bandoneon, violin and guitar. And on the end of the nineteenth century triplets typical of the era were integrated with a bandoneon, violin and piano. With regard to the latter it should be noted that training was due to requirements of the Houses of Dance and the Saloons who hired these sets. Furthermore, the inclusion of the piano at this stage of tango is due in large part to Roberto Firpo who also gave his instrument a projection that did not had until then in popular music.
The music of Buenos Aires and has his spirit, his personality, the musicians who feed their sounds and artistic adequacy have to continue to mature lyricists ideas and move into a stark reality, putting verses miseries and joys, of those who constitute the Silent majority is already a great city.